A new theory of the earth : from its original, to the consummation of all things. Wherein the creation of the world in six days, the universal Deluge, and the general conflagration, as laid down in the Holy Scriptures, are shewn to be perfectly agreeable to reason and philosophy. With a large introductory discourse concerning the genuine nature, stile, and extent of the Mosaick history of the creation /

Signatures: [A]² B-Mm⁸ Nn⁴ (-Nn4)

The Old Testament in the Hindi Language

Mode of access: Internet.

The prophets and kings of the Old Testament : a series of sermons preached in the chapel of Lincoln's Inn /

"First edition printed 1852 (dated 1853) ... fifth, 1886; reprinted, 1891."

The approaching end of the age viewed in the light of history, prophecy, and science.

"Authors consulted in the preparation of this work": p. [673]-691.

Helps to the study of the Bible; including introductions to the several books, the history and antiquities of the Jews, the results of modern discoveries and the natural history of Palestine, with copious tables, concordance and indices and a new series of maps.

The illustrations have special t.-p.: Bible illustrations; a series of plates illustrating Bible versions and antiquities, being an appendix to Helps to the study of the Bible.

How God inspired the Bible; thoughts for the present disquiet,

Mode of access: Internet.

Approaches to history; selections in the philosophy of history from the Greeks to Hegel.

The Greeks -- The Bible -- St. Augustine -- Bodin -- Vico -- Herder -- Hegel.

The Gospels in the early church,

Mode of access: Internet.

Marcion, on the restitution of Christianity : an essay on the development of radical Paulinist theology in the second century /

Thesis (Ph. D.)--St. Cross College, 1982.

The Bible educator, ed. by the Rev. E.H. Plumptre.

Mode of access: Internet.

The book of Judges : in the Revised Version : with introduction and notes /

Includes bibliographical references and index.

Religion & art; a study in the evolution of sculpture, painting and architecture,

Translation of: Religione e arte figurata.

Gnosticism, Transformation, and the Role of the Feminine in the Gnostic Mass of the Ecclesia Gnostica Catholica (E.G.C.)

The Gnostic Mass of the Ecclesia Gnostica Catholica (E.G.C.) suggests a heterosexual gender binary in which the female Priestess seated on the altar as the sexual and fertile image of the divine feminine is directed by the male Priest’s activity, desire and speech. The apparent contradiction between the empowered individual and the polarized gender role was examined by comparing the ritual symbolism of the feminine with the interpretations of four Priestesses and three Priests (three pairs plus one). Findings suggest that the Priestess’ role in the Gnostic Mass is associated with channeling, receptivity, womb, cup, and fertility, while the Priest’s role is associated with enthusiasm, activity, phallus, lance, and virility. Despite this strong gender duality, the Priestesses asserted that their role was personally and spiritually empowering, and they maintained heterosexual and polarized gendered roles are necessary in a transformative ritual which ultimately reveals the godlike unified individual.

Metaphysics of love in the religious philosophy of Pável Florensky

This article focuses on the analysis of the concept of love in the religious philosophy of Pavel Florensky, who shares the ontological approach to the consideration of love with other representatives of Russian religious philosophy (N. berdyaev and S. bulgakov). We pay more careful attention to the understanding of love-άγαπαν by Florensky. We have drawn the conclusion that, in the philosophy of P. Florensky, Love, closely connected with truth and beauty, is considered an ontological basis existence of personality. We develop the ideas of Pavel Florensky, and accordingly assume that it is possible to synthesise love-agape and love-eros around the idea of sacrificial love. Agapelogical and erotical ‘bezels’ of one jewel of love is aspects of united love, which is given by God. this gift of God, the gift of united love, is kept by humans through prayer and deeds of love.

Petr Eben's oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983): An interpretative analysis of the symbolism behind the text settings and musical style

The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal-instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation.